ArtSlant - Recently added en-us 40 Wendy Higgins - GREENBERG Fine Art - September 12th - September 12th Mon, 28 Jul 2014 08:47:39 +0000 Meridel Rubenstein - David Richard Gallery - July 14th - August 24th <p>Meridel Rubenstein began her professional career in the mid 1970&rsquo;s, evolving from photographer of single photographic images to multi-media artist of large-scale installations. Her artworks are known for their unusual combinations of materials and ideas and from the beginning, her art making has argued for an awareness of how we are connected to place.<br /> <br /> The newest work, <em><strong>Eden Turned on its Side</strong></em>, focuses on intersections of nature and culture in relationship to ecological and social imbalance. After millennia of destruction, can Eden be restored? Rubenstein explores this question in three parts: <br /> <br /> Part I, <em>Photosynthesis</em>, the subject of this small exhibition, includes images of trees and people exchanging oxygen and carbon dioxide throughout the seasons, in a post-Edenic and threatened relationship. Presented not as a timeline but as a natural cycle of life, death and rebirth, human beings and nature are visualized deeply connected and existing in a true, if threatened, symbiosis.<br /> <br /> Part II, <em>The Volcano Cycle</em>, explores volcanoes from Indonesia&rsquo;s Ring of Fire that evoke earth, climate change and human co-evolution. Here the destructive forces of Nature are observed to be regenerative.<br /> <br /> Part III, <em>Eden in Iraq</em>, is set in the marshes of South&shy;ern Iraq, a site said to be very near to the original Gar&shy;den of Eden. Here Meridel is co-designing a wastewater garden/memorial site that aims to transform relics of war and destruction into art.</p> Fri, 25 Jul 2014 21:29:53 +0000 Gregory Botts - David Richard Gallery - July 15th - August 24th <p>These contemporary landscapes by Gregory Botts were painted in Madrid, New Mexico. Botts combined figuration with geometry, plein air with studio painting and site-specific locations with memory to create his abstractions. His approach and palette are fresh and reductive with bold brush strokes and a range of vertical as well as horizontal views. His fragmenting of the plein air paintings and reassembling them with elements from other paintings and memory engage the viewer with his constructed narratives and viewpoints.<br /> <br /> David Richard Gallery is pleased to represent Gregory Botts.<br /> <br /> At first glance, Gregory Botts&rsquo; paintings are as straight forward as they seem, contemporary and reductive landscapes. However, on closer examination they are much more complex with many layers of imagery, painting and meaning, shifting more to abstraction and bordering on conceptual. How can that be? Botts is fascinated with the passage of time, both on a micro scale&mdash;the duration of time when creating his plein air paintings with the ever changing clouds, moving water and shifting sun that changes the light, shadows and color palette&mdash;and macro scale&mdash;shifts in art tendencies and genre, the poetics of art and popular culture and changes in the environment. Yet he captures all of this passage of time and more in his paintings as he creates narratives illustrating the impact of these changes. For Botts, &ldquo;the reality of the present is informed by the romantic past and the projected idealistic future&rdquo;. Painting with Fairfield Porter and Paul Georges on Long Island, NY, he honed his formal skills from the masters. However, Botts was very much influenced by his contemporary colleagues in New York and the ever-changing world of Post-Modern art. Botts conflates all of it into his unique approach to landscape painting in a very modern and contemporary world. His plein air paintings capture the essence of the landscape, while the studio paintings introduce his memory and interpretation. The pinnacle of this work is the constructions, the paintings of paintings that have been juxtaposed in the studio in various orientations with the many overlapping fragments combined together. The constructions are the narratives that bring together the passage of time on a micro and macro scale as well as the artist&rsquo;s romantic and poetic notions and formal elements from art historical positions and cultural fashion, all of which impact our view and interpretation of the landscape. <br /> <br /> Gregory Botts divides his painting practice between New York City and Northern New Mexico. He studied at the School of Visual Arts, NYC and Skowhegan School of Painting and Sculpture in Maine. Since 1982 Botts has had more than 30 solo exhibitions and his paintings included in numerous group exhibitions in New York, Los Angeles, Santa Barbara, Santa Fe, Roswell and Atlanta among other cities. His exhibitions have been reviewed in <em>Art In America, ARTnews, Artsmagazine, Art International, Village Voice</em> and the <em>Los Angeles Times</em>. Botts&rsquo; artwork is included in many private collections and the permanent collections of the Mint Museum of Art, Charlotte, NC, San Antonio Museum of Art, TX, Denver Art Museum, CO, La Jolla Museum of Art, CA, Santa Barbara Museum of Art, CA and Museum of Contemporary Art, Honolulu, HI, among others.</p> Fri, 25 Jul 2014 21:26:02 +0000 Lilly Fenichel - David Richard Gallery - August 1st - September 6th <p>Lilly Fenichel&rsquo;s painting career has spanned more than 6 decades, starting with her studies at the California School of Fine Art with Hassel Smith. Fenichel has explored Abstract Expressionism, gestural abstraction and Color Field painting through most of her career in a variety of media and supports. She has had forays into figuration, geometric abstraction, shaped fiberglass supports, three-dimensional wall structures and furniture design. Always with a critical eye toward composition and color harmonies, a focus on visual depth and complex surfaces. <br /> <br /> Lilly Fenichel initially lived and worked in Los Angeles and then later moved to Taos, NM to join the Taos Moderns with her friends Beatrice Mandelman, Oli Sihvonen and Ed Corbett among others. She currently lives and works in Albuquerque where she continues to explore abstract painting with oil glazes on a synthetic polypropylene support.</p> Fri, 25 Jul 2014 21:12:48 +0000 Ai Weiwei, Bert Benall - Museum of Contemporary Native Arts - July 16th - October 16th <p style="text-align: justify;">A documentary film directed by Daniel Hyde and Blackhorse Lowe. Part of the Temporary Installations Made for the Environment (TIME) project, which documents the site-specific land art project by artists Ai Weiwei and Bert Benally. A new media installation as part of Pull of the Moon, a site-specific land art project by artists Ai Weiwei and Bert Benally is featured in the Honor Gallery.<em> Pull of the Moon</em> is part of the Navajo TIME project, a unique partnership between New Mexico Arts and the Navajo Nation Museum.</p> Fri, 25 Jul 2014 09:16:24 +0000 Andrea Geyer - Museum of Contemporary Native Arts - July 18th - December 31st <p style="text-align: justify;">July 18 &ndash; July 31 | August 21 &ndash; December 31, 2014 Every Saturday &ndash; Monday</p> <p style="text-align: justify;">A slide and sound installation by Andrea Geyer<br /> A collaboration with SITE Santa Fe, as part of SITElines: New Perspectives on Art of the Americas<br /> <em>Unsettled Landscapes</em><br /> <em><br /> </em> Andrea Geyer digs into the complexities of narrative and imagery to consider how they become solidified into history and art. Her series <em>Spiral Lands</em> concerns history&rsquo;s tendency to repeat itself. Created at a time when American exceptionalism was coloring the invasion of Iraq, for Geyer, the rhetoric justifying the invasion was reminiscent of that of manifest destiny. A work in three parts, <em>Spiral Lands / Chapter 2</em>, replicates an educational setting: slides of Chaco Canyon and Bandelier National Monument click by as a lecture is continuously broadcast over speakers. The lecture displaces single authorship with a multitude of voices-Native and non-Native alike</p> Fri, 25 Jul 2014 09:01:26 +0000 - Museum of Contemporary Native Arts - May 24th - July 31st <p style="text-align: justify;"><span style="font-size: small;"><strong>Helen Hardin Media Gallery</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Featuring films from Sundance Institute&rsquo;s Native American and Indigenous Program:</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Sikumi</strong> (On the Ice)</em> &ndash; An I&ntilde;uit hunter takes his dog team out on the frozen Arctic Ocean in search of seals and inadvertently becomes a witness to a murder. Director: Andrew Okpeaha MacLean (Inupiaq) (15 mins.)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Nikamowin</strong> (Song)</em> &ndash; Deconstructing and reconstructing Cree narrative, this film experiments with language to create a linguistic soundscape.&nbsp;Director: Kevin Lee Burton (Swampy Cree) (12 mins.)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Shim&aacute;s&aacute;n&iacute;</strong></em> &ndash; When Mary Jane finds a world geography book that shows her an entirely new world, she must decide whether to maintain her traditional Navajo reservation lifestyle with her grandmother or go out into the larger world. Director and screenwriter: Blackhorse Lowe (Navajo) (15 mins.)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Gesture Down</strong></em> -<em> I Don&rsquo;t Sing</em> &ndash; A graceful and personal adaptation of the poem &ldquo;Gesture Down to Guatemala&rdquo; by the late Native American writer James Welch. Director: Ceder Sherbert (Kumeyaay) (8 mins.)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>Two Cars One Night /New Zealand</strong></em>&nbsp; &ndash; Sometimes first love is found in the most unlikely of places, like in the carpark outside the Te Kaha pub. Director and screenwriter: Taika Waititi (Te Whanau Apanui) (10 mins.)</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>About Sundance Institute&rsquo;s Native American and Indigenous Program:</strong></em> Celebrating its 20th anniversary and rooted in the recognition of rich tradition of storytelling and artistic expression by Native American and Indigenous peoples, Sundance Institute&rsquo;s Native American and Indigenous Program operates the Native Forum at the Sundance Film Festival, as well as the NativeLab Film Fellowship and Native Producers Fellowship to aid emerging Native American/Alaska Native/Native Hawaiian filmmakers. The program has also established filmmaker labs in New Zealand and Australia. The program has supported such projects as<em> Bran Nue Dae, Here I Am, Four Sheets to the Wind, Barking Water, Eagle vs Shark, Boy, Miss Navajo, Grab, Sikumi, On the Ice, </em>and</span><em><span style="font-size: small;"> Mosquita y Mari.</span> </em></p> Fri, 25 Jul 2014 08:49:37 +0000 Kenojuak Ashevak - Museum of Contemporary Native Arts - January 25th - July 31st <p style="text-align: justify;"><span style="font-size: small;">Internationally renowned graphic artist<strong> Kenojuak Ashevak</strong> (b. 1927) passed away in 2013 at the age of 85. While we mourn the loss of one of the most significant Inuit artists of the modern era, she leaves behind an unparalleled artistic legacy in prints and drawings created over 50 years of uninterrupted production. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The selection of works from the <em><strong>Edward J. Guarino Collection</strong> </em>highlight the diversity of Ashevak&rsquo;s print practices and the development of her iconic style over a long and prolific career. Although she frequently experimented with different print techniques and materials, her bold graphic style has remained a constant feature of her work. Remarkably, Ashevak is known for producing her vibrant compositions of Arctic flora and fauna without the use of a sketchpad or eraser. Rather, she deftly created her complex arrangements of owls, ravens, fish and other creatures of the North using a single line from start to finish. This technique is perfected in works such as Ravens Entwined (2004).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although Ashevak was born in an igloo and spent her youth living on the land, she and her husband Johnniebo eventually settled in the small Baffin Island community of Kinngait (Cape Dorset) when their children were enrolled in school. In 1959, she became a founding member of Kinngait Studios, the artistic branch of the West Baffin Eskimo Cooperative, with a group of other emerging Inuit sculptors and graphic artists interested in formalizing and professionalizing their collective art practices. As a skilled seamstress, Kenojuak was already well known for her sealskin applique clothing and beadwork when she began experimenting with drawing in the studio, and her first print, <em>Rabbit Eating Seaweed</em> (1959), was based off the design of a two-tone purse she had earlier created in fur and skin. That print was included in the first ever Cape Dorset Annual Print Collection in 1959, and her work has since been included in nearly all of the subsequent annual collections.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Most every honor that Canada can bestow upon an artist has been conferred to Ashevak. She is a member of the Order of Canada and the Order of Nunavut; the recipient of a Governor General&rsquo;s award and two honorary degrees; and has been recognized with a Lifetime Achievement Award by the National Aboriginal Achievement Foundation. She has been the subject of a National Film Board documentary film &ndash; <em>Eskimo Artist: Kenojuak </em>(1963)<em><strong>&nbsp;</strong></em> &ndash; and her iconic print <em>The Enchanted Owl</em> (1960) was issued as a commemorative stamp in 1970. For her innumerable contributions to the field of Inuit art, she will forever be held in the highest esteem by both the art world and her people.</span></p> <p style="text-align: justify;"><span style="font-size: small;">- Heather Igloliorte</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong>About the author:</strong> </em>Inuk curator and art historian Heather Igloliorte is an </span><br /><span style="font-size: small;">Assistant Professor of Art History at Concordia University in Montreal, Canada.</span></p> Fri, 25 Jul 2014 08:47:41 +0000 B.C. Nowlin, Jim Eppler - Manitou Galleries - August 1st - August 15th <p style="text-align: justify;"><span style="font-size: small;">Manitou Galleries is proud to present&nbsp;<em>The Raven &amp; The Journey</em>&nbsp;with new works from&nbsp;<strong>Jim Eppler &amp; B.C. Nowlin</strong>.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In many Native traditions, the raven is a symbol of change and metamorphosis. Jim Eppler, who presents this concept in literal fashion, is widely known for his realistic raven sculptures. B.C. Nowlin's autumnal canvases portray horseback riders, always facing away, entering into a mysterious journey from which comes transformation. These two artists' works take "the only constant", and bring us beauty.</span></p> <p style="text-align: justify;"><strong style="font-size: small;">Jim Eppler</strong><span style="font-size: small;">&nbsp;has been praised for his lifelike recreations and gentle interpretations of animals. It is Eppler&rsquo;s respect and appreciation for nature that allows his art to flow so freely though his bronze sculpture.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">As accomplished as Eppler is in wildlife art, he does not limit himself to that realm. He is an accomplished portrait artist and skilled musician who is able to meld his gift for song and portraiture by creating commissioned portraits for the Nashville Songwriters Hall of Fame. He has created commissioned pieces for MCA Records, Mercury Records, Chappell Music, the National Wild Turkey Federation, and numerous private collectors.<strong>&nbsp;</strong></span><strong style="font-size: small;">&nbsp;</strong></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>B.C. Nowlin&rsquo;s</strong>&nbsp;art mirrors his cross-cultural background. A native of Alameda, New Mexico, his family&rsquo;s land formed the southern boundary of the Sandia Pueblo Reservation. Nowlin came of age steeped in childhood experiences of vibrant Hispanic culture and Native Puebloan mysticism.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Entirely self-taught, using neither photos or sketches, Nowlin has created a visual catalog of spiritual journeys that have become his signature imagery. His palette reflects a stunning array of styles, a complex originality, and a surprising breadth of imagery that has attracted exhibitions in galleries and corporate collections worldwide.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The opening reception is occuring in conjunction with the West Palace Arts District&rsquo;s First Friday Art Walk. &nbsp;Manitou will host Mariachi Porvenir on our patio. The show will be on view through August 15<sup>th</sup>.</span></p> Fri, 25 Jul 2014 08:41:19 +0000